#like i get giving your characters flaws and having them make mistakes but the way it's treated jonathan barely feels/says sorry😭 and idk.

[girlwithrituals]

101 ways to improve self esteem

1) Master a new skill.

2) List your accomplishments.

3) Do something creative.

4) Challenge your limiting beliefs.

5) Talk to a counselor.

6) Don't worry about what others think.

7) Read or watch something inspirational.

8) Stay true to your character.

9) Let go of negative people.

10) Set healthy boundaries with others.

11) Care about your appearance.

12) Welcome failure as part of growth.

13) Be a lifelong learner.

14) Face your fears.

15) Become a mentor.

16) Accept compliments.

17) Eliminate self-criticism.

18) Practice coping skills to manage stress and big emotions.

19) Notice negative thoughts and beliefs.

20) Challenge negative thinking.

21) Think about what you learned from negative experiences.

22) Practice gratitude.

23) Exercise.

24) Eat healthy and limit junk food.

25) Get good sleep.

26) Spend time with positive and supportive people.

27) Encourage yourself.

28) Write a list of your strengths.

29) Don't compare yourself to others.

30) Avoid perfectionism.

31) Do at least one positive, enjoyable activity every day.

32) Celebrate small victories.

33) Be helpful and considerate to others.

34) Be honest with yourself and others.

35) Accept your flaws.

36) Don't give up.

37) Practice self-care.

38) Go easy on yourself.

39) Practice being assertive.

40) Practice saying "No".

41) Practice relaxation techniques.

42) Take on challenges.

43) Volunteer to help others.

44) Forgive others and yourself.

45) Set goals and work toward them step by step.

46) Seek balance in all areas of your life.

47) Discover your passions and purpose

48) Groom yourself.

49) Dress nicely.

50) Be kind and generous to others.

51) Practice good posture.

52) Change a small habit.

53) Smile.

54) Don't procrastinate.

55) Don't take things personal.

56) Organize your personal space.

57) Challenge unkind thoughts about yourself.

58) Spend time outside.

59) Notice the good things.

60) Celebrate your successes

61) Write a list of things you like about yourself.

62) Don't take too much on.

63) Do something for yourself every day.

64) Develop daily habits.

65) Remind yourself it's okay if not everyone likes you.

66) Practice mindfulness.

67) Learn to tolerate discomfort.

68) Use problem-solving skills.

69) Take responsibility instead of blaming.

Tell Yourself Positive Affirmations Such As:

70) I am grateful for every day.

71) I am worthy of happiness and love.

72) I am in charge of my own happiness.

73) I love, respect, and believe in myself.

74) I deserve to be happy and successful.

75) I approve of myself, right here and now.

76) I am learning and changing for the better.

77) I accept 100% responsibility for my own life.

78) Every day in every way, I am getting better and better.

79) I can learn to accept the parts of myself that I don't like.

80) I am thankful for my challenges as they make me a stronger person.

81) Write down three positives about each day.

82) Make a collage with your talents, goals, and dreams.

83) Practice laughing.

84) Be proud of yourself.

85) Say mistakes are an opportunity to learn.

86) Show respect to yourself and others.

87) Resolve conflict peacefully.

88) Ask for help or support.

89) Complete a daily task list.

90) Have a growth mindset.

91) Be optimistic.

92) Treat yourself with kindness and compassion.

93) Focus on the things you have control over and can change.

94) Get started on tasks you have been putting off.

95) Practice good daily hygiene.

96) Focus on solutions not problems.

97) Talk about your feelings with someone you trust.

98) Drink plenty of water.

99) Start a new hobby or join a club/sport.

100) Do random acts of kindness.

101) Create a dreams list.

[literaryvein-reblogs]

How to Write a Character

For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.

By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.

Come up with a backstory

Crafting a backstory can help you flesh out an interesting character profile.

“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”

Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.

Develop a character arc

A character must evolve throughout a story.

“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”

Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.

Do research

If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.

“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”

Empathize with your characters

No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.

“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”

When people can empathize with characters, they’re more likely to find them compelling.

Experiment with different approaches

If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.

“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”

There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.

Give your characters flaws

To craft believable characters, you need to give them flaws.

“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”

Learn from real people

Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.

Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.

Talking to people about their experiences will help form your character’s personality.

Let your characters surprise you

Character development can proceed down a host of different avenues.

“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”

As you write, your character’s motivation or perspective might change from what you originally planned.

Play characters off each other

Ask yourself how a secondary character’s personality might thwart the main character’s motivation.

“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”

The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.

Take an organic approach

Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.

Your characters may take on a life of their own.

Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.

Writing Notes & References

[shadykazama]

Sun Wukong/The destined one (mostly relationship) headcanons!

The people have spoken and the people crave monkey business. So let's get down to it!

❤

Post journey Wukong is a wiser, stronger monkey, but don't let him fool you he's still a trickster at heart.

When you first meet, he has you refer to him as 'Great Sage'.

Earning the right to say his given name isn't so much a big moment as it is just him beginning to care for you. You slip up, whether it be because you were sick or injured or just not thinking, and he doesn't correct you. In fact he kind of likes it.

He doesn't make a big deal out of it, but if you watch closely you can see his tail twitch and his eyes lost in thought.

One character flaw you'll have to deal with, even when you're just friends, is Wukong thinks he knows what's best. He's old and wisened and POWERFUL; if he thinks he knows something will be best for you, he'll do it without so much as telling you.

Credit to Hanibalistic! Their one shot about Wukong and stealing an immortal peach for a mortal reader was perfect and exactly how I think he'd act! That impulsive, "I care about this person and will do what I think is best for them regardless of the consequences or their opinion" is very... him.

Hey, we all have our flaws. (Just don't tell him that.)

On the positive side, he wouldn't let a scratch befall you. At some point you'll stop instinctually defending yourself because of how safe you feel with him. Which is heavily ironic considering how often he himself will put you in dangerous situations just to pull a prank.

But besides your poor heart from getting scared so often, you have nothing to worry about. Wukong won't leave room for even one mistake to slip by him.

Expect him to never call you by your name, almost ever. He chronically tends to call people by titles or nicknames. From calling the tang monk, master, or how he'd call Bajie 'idiot' for most of the book- just expect something. He'd only refer to you by name if he were really serious.

Something I personally find really funny that isn't represented in many medias with him is that he's OLD. He's old as hell and he knows it. In the book he'll often refer to basically everyone as 'nephew' or 'little brother' which is oddly endearing and also really funny.

I feel as though most people don't utilize how heavy he is- even in movies and stuff. His staff is like thousands of pounds! You aren't moving him unless he wants you to. God forbid you end up cuddling. Even while resting I never think he'd put his full weight on you, but you'd definitely be stuck.

Will never refuse to help you, but will tease you endlessly for needing it. "Helpless little thing aren't you?"

His love language is gift giving and acts of service.

He's impulsive with words, but look at how he treats you and you'll see how he cares.

Considering his connections, expect to have the world at your fingertips. He'll never leave you wanting, you'll always be satisfied. There is no gift beyond his reach. Just be careful what you ask for, because he WILL get it one way or another.

He is a king, a leader- it's basically second nature to be serviced, and that's why it's so important how he acts toward you. For you, he stays vigilant, ready to catch you if you fall or feed you when you're hungry. For you, he'll carry you in his arms if you're tired. For you he'd put himself in servitude.

Monkeys also show affection to one another by grabbing at each other for attention, and grooming one another's hair.

I don't think he'd have any trouble getting your attention, he's very vocal! So he'd focus more on your hair. Don't be surprised if he randomly starts combing through with his fingers or just playing with it. It's calming for him, and another form of affection.

You've changed him for the better... And for the worse. He happier, more content and occupied (which is good for everyone). BUT, should you ever disappear or get stolen from him he would surely devastate heaven and earth to get you back. The last thing anyone needs is another, more wrathful, Wukong rampage.

Expect to get shown off at every convenience! You're his king/queen and he'll make sure everyone knows it.

You have the BIGGEST wedding. And I think the best part would've been the Chuangmen, which is a wedding game tradition, usually meant for the groom to prove his loyalty, devotion, and desire to marry the bride by completing tests made by her bridesmaids. There are a ton of really interesting Chinese wedding traditions that I would recommend reading about, but with the sheer power of Wukong, these challenges in particular could've been absolutely ridiculous!

Wukong isn't jealous, no that would be ridiculous, he has nothing to fear. That by no means doesn't mean that he doesn't get offended on your behalf. He's gotten upset at not being greeted properly, there's no way in HELL he doesn't get pissed if someone were to flirt with you. They're lucky if all he does is kill them.

Feel free to make fun of him for not being able to swim. He'll absolutely make you regret it, but do it anyway it'll be funny.

Am I the only one that thinks he'd be great with kids? 🤚

Like COME ON- the dude probably helps take care of the baby monkeys on his mountain. He tells them cool stories to get them riled up. Will lay down and let them play with his hair while you read or sing to him.

Give this man kids I dare you.

That's a topic for a different post 😌

Likes kissing you on the top of the head, will also lay his forehead against yours just to be close to you.

These two designs I really like for him! Y'all let me know in the comments which version is your favorite <3

💙

The destined one may look like Wukong, but they're certainly different in... most areas.

Being selectively mute makes things a good share more difficult to communicate with him than Wukong, but it has it's charms.

You'd just been... tagging along with him. He didn't mind, unlike the wolves and undead he'd been beating through, you proved no threat to him.

He figured you would just leave on your own- or die. But by some miracle even he didn't understand, you stuck by him through rain and dust storms alike. By the time you made it to the New West he felt obligated to keep you around.

For the first time since you started following him, you were actually in danger. And to both of your surprises, he dropped what he was doing to protect you.

Don't bother asking him why. Whether you do, or simply tell him thank you, he'll just wave you off. But you notice him walking closer to you than normal after that. No longer were you left to catch up with him while he sprinted off; he'd keep stride with you now, glancing at you every now and then.

He CAN talk, and he probably surprises you the first time he does. It's not even for something important. It's just one fateful night where you happen to decide to mess with his hair. You'd pull away after a moment and he'd rumble out a little, "Don't stop."

Now that you KNOW he can talk, it's even more annoying when he refuses to answer you.

He finds it amusing when you get frustrated with him about it. He can't help it. The whole time you're grumbling or ranting at him, he's just staring at you with his stoic face... thinking about how cute you are.

Feel free to give him a name. Not like he'll argue with whatever you pick-

But really, please call him something other than "the destined one". He'd never really needed a name before, but he'd treasure whatever you decide to call him.

He probably has a nickname for you too, he just only says it in his head...

Will click his tongue at you to get your attention. (Absolutely does the 'tsk tsk tsk' thing people do to call their cats)

Speaking of getting your attention- ^ remember how monkeys show affection by just kind of grabbing each other and squeezing and pressing their head against each other?

Yeeeeah. He's a touchy monkey. He won't ask for affection, so he kind of just does it himself. Will rub his head on you, not unlike how cats or rabbits do to mark things they like. Except he's just doing it to be affectionate.

Gets cuteness aggression and WILL just grab you.

If it wasn't obvious, his love languages are physical touch and quality time.

Doesn't need help putting armor on, but if you want to help he won't stop you. (The closeness makes his heart beat fast)

If you were ever both in a bad spot- being threatened and not in a place to put up a good fight, he'd cover your body with his and bare his fangs at whatever was trying to hurt you guys to intimidate it. (It probably wouldn't work- but it's an instinctual response.)

If your feet got cold in the snow in the New West he'd pick you up and let you rest on his back for awhile.

Likes when you rely on him like that, it makes him feel stronger. And besides it just "being his destiny", knowing you'll get hurt if he loses helps him focus during fights.

Terribly jealous individual.

The glare he would give someone is straight up deadly. Watch out for how his tail flicks around when he's irritated too 🤭.

Absolutely adores the sound of your voice, it could bring him out of a coma fr.

Doesn't mind being little or big spoon, he just likes cuddling. Wraps his tail around you when you do.

Always always makes sure you eat before he does, even though he's the one doing all the fighting.

Will let you win play fights (most of the time).

Hearing him laugh is the cutest thing ever I swear- It probably took you off guard the first time you manage it.

Doesn't know how to take compliments.

Probably short circuited the first time you complimented his appearance.

Very gentle, slow kisser. Likes having you in his lap, but will grab cheeky kisses every now and then too. Will tilt your chin up when you kiss, every time.

Art by @marcu-bug

[mostly-functional]

I need to talk about the scene in episode 5 where Crystal confronts Charles about his anger problem. I saw another post where people were calling her a badass or a girlboss, and I interpreted the scene very differently.

If you don’t remember, she says “you walk around like the sun always shines and then you lost your shit while beating the Night Nurse. Edwin and I are walking on eggshells around you instead of just saying ‘what the actual fuck?’”

Keep in mind, she’s yelling this whole time. She isn’t saying “you have a problem and I’m here to help,” she’s saying “you are a problem and I need you to fix it.” And sure, Charles does have anger issues, but can you blame him?

And in this situation, he was being pretty reasonable. The Night Nurse showed him memories of senseless violence and then she pretty much threatened to send Edwin back to Hell. I get that she might not know all that, but that’s not really the point.

When I hear this speech, I pretty much see it as her saying that Charles is the same as his father. She’s saying that everyone around him is afraid of angering him, that they’re all walking on eggshells to keep him calm. That’s exactly how he described his relationship with his father. No matter how good he was, his father found something to be angry about. And that anger was something to be afraid of.

Later on in this same episode, Charles laments that he doesn’t want to be a bad guy. Brad and Hunter were bad guys, and Crystal pretty much called him a bad guy to his face. And I do think it’s part of the reason he rejects Edwin on the staircase. He’s afraid of turning into his father and hurting Edwin the same way his father hurt him and his mother. Crystal isn’t the only reason he feels this way, but she did feed into these fears.

Now, I know that Crystal has her own shit going on. Especially after the nightmare she had at the beginning of the episode where she saw Charles as David. I understand she’s a flawed character and I do love that about her. She makes mistakes and she can’t always fix them. Everyone in the show is deeply flawed and that’s what I love about it.

All I’m saying is that I didn’t think this scene was a girlboss moment. I think it was an example of how she can be judgemental and rigid.

Of course, I’m not saying anyone else is wrong for interpreting this scene differently. I just wanted to give my opinion, too

[imbecominggayer]

Signs You Have Written An Actual Mary Sue

*Insert SIREN NOISE As Writer Has Just Said "Mary Sue"* whoop

For the sake of clarity, I'm going to be using the term "Mary Sue" as a catchall term for characters that lack important flaws. I understand that the term is often disproportionally used against female characters but I want to use a recognizeable term for this issue.

Also, this advice is for "serious works of fiction". If this story isn't intended to be critically viewed by anyone else and is just meant for fun, write Mary Sue.

Okay? Ok!

What Is A Mary Sue?

A "Mary Sue" is a character who is defined by their inhumaness as they lack flaws and consequences. And that is the key term that defines the Mary Sue: "consequences".

The Mary Sue has the impressive ability to bend reality to serve it's own needs. Like a parasite!

But let's get to some specific signs

A: They Lack Substantial Flaws

"Substantial", in the world of writing, means "of plot significance"

Mary Sue often has flaws but they are either:

Fake Flaws that are never shown to the audience such as a character who is a horrible cook who never cooks

Cute Flaws that never impede on a character's likeability and success. Their anger issues never lead to bad impulsive decisions. Their naivety never loses it's "charm"

Substantial flaws are flaws that actively hurt a character's chances at getting their goal while simultaneously ruining the character's life.

Compelling Characters are tempted by vices, have their morals tested, fail spectacularly, and make bad decisions.

Mary Sues are enlightened characters whose bad decisions tend to be portrayed as a natural intuition. A character who never fails meaningfully.

p.s: flaws should be dark reflections of their good qualities. determined=stubborn. idealism=savior complex

B: They Lack Agency

Mary Sue, despite their wealth of charm and attractiveness, never makes active decisions.

They never make active decisions because Mary Sue is a character who is so perfect they have no desire, goal, or lack of something. Afterall, if someone has the ability to get anything they want, why would they want?

Mary Sue never has to change anything about themself to get a goal because they neither have imperfections or goals.

Instead, the plot comes racing at them as conspiracies, mysterious love interests, and practically God herself, desperately try to involve this mediocre individual in the drama for some reason!

As I have mentioned in my: Writing Advice: Give Your Characters Agency, characters need to have agency in order to have a compelling character and plot since narratives are based on the question "what is this character willing to do to get their goal"!

Mary Sue don't need to ponder this question since they don't have a goal. They either passively hope to survive while not doing anything active in order to try and survive or they just kinda walk around.

C: They Bend The Rules Of Reality

But not in a cool way. Like more of a bully kinda way.

I'll give you some quick examples of what types of "bending reality" exist since it kind of depends on the plot!

a: "Character A is not conventionally attractive, doesn't practice self-care, insults other, has a HUGE superiority complex, and is obnoxious. Yet for some reason, several characters crush on them when there’s no redeeming qualities."

b: "Character B fails to do something but it's okay because that failure allowed them to succeed and they actually end up winning overall"

For A: Basically, Mary Sue changes the character settings of other characters and often forces them outside of their typical behavior while not simultaneously providing a reasonable explanation for hy this happens.

For B: The plot caters exactly to their needs. Like even mistakes play out as victories because the plot develops in the direction making them being right in the end. Mary Sue doesn't get pushed by the plot here. They are the plot

[essycogany]

Rare But Not So Rare Sonic Moments

Flaws

This may get controversial.

I welcome anyone else’s view point on this topic. If you don’t agree I’m okay with that. Just because I have a different perspective doesn’t make what I think right or wrong. You don’t have to change your mind. Whatever your opinion is, I respect it. Besides, it’s fun to have different views on something we both love. It gives us a way to see different sides of the coin.

Disclaimer: I’m a person who didn’t grow up with this franchise and only recently got into in early 2022. I have no biases towards any version of this character. Making my opinions about his characterizations mixed.

By the way, I’ll only use Sonic games as examples (for the most part) because this analysis would be too long if I talked about other medias.

In short. Most of his flaws do stir into different medias as well. To be honest, Sonic’s other variants aren’t as different as some may think, but that’s my hot take.

Times The Blue Blur Messed Up

Riders: Sonic lunched Amy along with Eggman into the air with his wind abilities. While knowing Amy’s safety would be at risk. Then left her. Which was the reason she was so angry and aggressive afterwards. He didn’t ever apologize either.

06: Exchanged a chaos emerald for Elise even after Tails warned Sonic not to.

Unleashed: Was distracted by taunting Eggman.

Sonic: “Well, this is new. Showing remorse Eggman? If you played nice, I wouldn’t have to break all your toys.”

Then became the Werehog. All because he wanted to boost his ego.

Secret Rings: Shahra used Sonic to collect the world rings for Erazar Djinn. Even though it should’ve been expected because she said, “They use to work together.” Ended up not being true.

Black Night: Was tricked into helping Merlina who wanted to create a world that would last forever.

Lost World: Tails once again tried to warn Mr.Impatient about the conch in Eggman’s hand, but kicked it anyways. Then warned Sonic about another trap, he didn’t listen, ended up getting the fox captured instead.

Frontiers: Accidentally helped free The End despite Knuckles and Sage’s suspensions. If his friends, Eggman, and Sage didn’t help him…..Well, it’s in the villain's name.

Side Note: In Secret Rings, Black night, and Frontiers Sonic was rude at points.

Sonic Sassiness

Sonic Sassiness Part 2

Sonic’s Overall Flaws/Mistakes

Some may be from his general characterizations throughout his history.

Sonic rushes into things without a second thought. (Impulsiveness) Sonic can be too reckless, brash, or not take situations seriously.

He’s impatient. (Which was his core trait since his idle animation in Sonic 1)

He doesn’t listen to his friends warnings. Sonic can be too cocky at the wrong moments. He causes or contributes to world ending consequences. The blue blur can also be too trusting and naive.

Sonic doesn’t worry about his own physical or mental state and internalizes his emotions. He isn’t able to express himself very well. Therefore doesn’t put the right words together when speaking sometimes.

Sonic can be stubborn and a bit of a jerk.

Sage: “You are short tempered and short sided.”

And that’s about it. If I missed anything, feel free to let me know.

My Thoughts

A few of these can be seen as Sonic’s strength and weaknesses. Like his willingness to harm himself if it means to save his friends.

The reason Sonic never learns from his mistakes in the games is because he gets away with them. Which is not a good or bad thing per say. (Besides Sonic Riders. There’s no excuse for that.)

The stories never really given him an arc. But I don’t think Sonic’s a perfect or flawless character. If the examples I’ve shown are evidence of anything.

I’d say he’s static, but not consistently. Most static characters I’ve seen rarely stays static anyways.

I also don’t believe Sonic himself thinks he’s perfect. Sonic probably thinks he doesn’t have to change because he’s so sure he should be able to manage things without issue. Everything does eventually go his way. Why should he change?

I do understand Sonic influences people, but why can’t there be a balance? It’s been done plenty of times with other characters. In books, movies, and tv shows. Animated and live-action.

Movie!Sonic in Sonic 2 inspired both Knuckles and Tails. Helping them better themselves with advice and encouragement. While also going through his own arc of growing up and being responsible.

Tails:“You’ve inspired me. To leave my village. To find you and help you on your mission.”

Despite him learning how to slow down and plan things out, Prime!Sonic also inspires the different variants of his friends. Thorn, Dread, and Nine. Helping them grow into becoming better people.

Even in Unleashed Sonic was at his most mature, but it was only after his cocky attitude got him into trouble. So, yes. Inspirational characters can have flaws.

I’ll just say this

Everyone has their own views on how Sonic should be characterized, drawn, played, voiced, animated, and showcase.

It’s fine if you don’t like a curtain interpretation of a character, but to say the character (Especially if they weren’t very consistent in the first place) isn’t acting like themselves now, it’s really hard to argue what self there is to come back to. Because even in the games there are so many different selves for these characters in their own canon universe. From Classic to Adventure, Unleashed, Colors, and Frontiers. (If that makes any sense)

It’s hard to find one place to be in because Sonic’s been in too many places at once. He shouldn’t be held down to one characterization if he’s already been all over the place from the beginning of his existence.

AKA Sonic’s first two shows ever. TAOSTH and SATAM. In both shows Sonic had flaws as well, but never learned from them. Which means he’s been like this from the start. Like everything else about this franchise, his personality is an ongoing experiment that’ll probably never be solved. And I kind of love that. Even if it can be stressful and has it’s own up’s and down’s

All of these unique stories from the games, comics, tv shows, and movies people grew up with are what made this franchise so popular. This is the main reason I became a Sonic fan. Because I learned so much about characterization from this franchise and how to love the different variations of its characters. Finding an appreciation for each of them.

Conclusion

Everyone’s opinions are valid at the end of the day. At least we all have a version of this character we can love and appreciate. Whether you agree or not I’m grateful you’ve made it all the way to the end. You’re a trooper!

Stay Creative! 💜

[fernsnouveau]

I actually disliked the direction where I'd recently seen a bunch of the more reasonable S5-critical ML fandom people going. Those discussions and analyses were spiraling increasingly towards demonising Marinette over time, as we were left hanging with the s5 ending for a long time, and the fandom had nothing new to talk about.

I actually liked her flaws.

But then the canon does... this...

And I do admit, it's an in-character way to push Marinette towards a villain arc. Like, if I had to construct a darkfic scenario where Marinette goes evil and try to keep it as close to her canon personality as possible, it would look something like this. Which, I guess, means that it's theoretically easier for me to accept than, for example, S5's occasional incidents of Edgy Murderboy Chat Noir (how is that the same character who had TWO guilt-based mental breakdowns about accidentally cataclysming someone completely out of his control, including the main villain??!). I'm sure there are in-character ways to turn Adrien (or anyone else) into a villain, but Murder-Noir was Not It.

Of course another reason why the writing of Murder-Noir gives me extra heebie jeebies, was how it felt like an abuse apologia excuse, validating Gabriel's accusations for Adrien to not "deserve" autonomy, nor to experience or express any negative, inconvenient emotions. Murder-Noir feels like it's a writing choice directed at child abuse victims in the audience, who related to Adrien. "See, your abuser was right, you're horrible and overly emotional and out of control, so you NEED to be rigidly controlled for your own and everyone else's good!

Anyway.

While I admit that Marinette taking up Gabriel's mantle this way is technically in character, I cannot claim to enjoy the writing choice at all. I liked Marinette's flaws. I wanted to explore them. I did not want her demonised to this extent. She could have been meaningfully flawed without becoming better at being Gabriel, than Gabriel himself was!

After this, the only justification for the lovesquare to stay together, would be as a wish-fulfillment or "reward" for Marinette, and that's not enough for me. When I think about, if there was a real-life abuse victim in Adrien's position (minus the supernatural elements), and then they were friends with, and/orstarted dating someone who repeatedly treated them the way Maribug has been doing (and "repeatedly" is important here, it demonstrates unwillingness to learn from mistakes and be sincere about apologies – S4 was brushed under a rug as soon as Chat Noir superficially forgave!), ESPECIALLY but not only siding with the abusive parent and lying to the victim that the abuse they experienced was "not really abuse" and For Their Own Good, and demonstrated this complete infantilisation and lack of respect for the abuse victim, wanting to see them only as a palatable, innocent fairytale being who's not allowed to be inconvenient, express negative emotions, make informed choices mor generally be a complete person...

Obviously the right thing to do, for the abuse victim, would be to get the hell away from that person.

It does NOT mean that the person is irredeemable. They're just... not owed the abuse victim's forgiveness and continued presence in their life.

And I can't ignore that anymore.

We failed to get an arc about Adrien surviving and escaping Gabriel and healing. He has now been put into a position where, in order to ever be okay, he would have to survive and escape Marinette in order to heal.

I don't like this. It feels very hopeless and bleak and unenjoyable. I don't even think the story is gonna go there and free/heal Adrien (Astruc made it clear that Adrien isn't supposed to be his own character or have agency, he's supposed to be Marinette's accessory and that's never gonna change).

But as far as I'm concerned, any excuse for the lovesquare relationship to get back together after this, would have the unpalatable aftertaste of propaganda to make victims return to their abusers.

I don't like this trajectory!!!

[twinsarekeepers]

I’m curious as to your honest thoughts on the show? Like I love pjo and all but the show was a bit of a let down writing wise. There’s always the point of “it’s an adaptation, not a carbon copy” like yes but this new writing isn’t exemplary better than the book just because it’s rewritten by the author himself

I think the show is well-written not because Rick is attached to it, but because I actually like the way the writers are approaching adapting the source material. I have a lot of issues with the original books in terms of writing quality because frankly speaking, I don’t think Rick is a very good writer. He has a lot of interesting things in those books that he never explores or drops within the first two and this fandom gives him and the books too much credit imo.

This is why I’m not very moved when people try to ascribe meaning to a certain scene or choice he made in the books to get mad at the show for changing. As an example, one of the main things people were upset about was the kids “knowing everything” in the show when they were getting tricked left and right in the book. Many posts were dedicated to how the book version is superior because it illustrates how they’re just twelve years old kids so of course they’ll make mistakes and get tricked by monsters.

That’s a perfectly fine interpretation but I was twelve years old when I first read tlt and I was able to anticipate almost every single trap, despite being pretty gullible and naive at that age. My knowledge of Greek mythology consisted of Disney’s Hercules, maybe two Google searches, and my second grade teacher’s reading of the kid friendly version of the Odyssey. No where near the level of Percy who’d been learning for a whole year in an established class on the topic with Chiron or Grover who was literally a satry born into the world or Annabeth, who spent the majority of her life dedicated to studying specifically quests and Greek mythology and was also on the run fighting monsters for a good portion of her childhood. Like twelve year olds can be dumb but those three stumbling into every trap was asking me to suspend my disbelief too far. I remember being upset that they weren’t able to figure it out because it was obvious that Rick wasn’t making that choice to show any personality flaws or character dynamics (because he would’ve had them learn and grow but they never did they just kept being not smart), he just wasn’t able to figure out a way for them to fall into those traps organically so he had to dumb them down.

I think the show was able to get across the characters’ childishness without compromising their established backstories. Yes, Annabeth knew it was Medusa right away because that makes sense for a kid who has experience with running into monsters. But, she still acted very much like a child in her interactions with her (and throughout the episode and season). She lashed out and called her a liar and wouldn’t listen to her side of the story because it painted her mother in a bad light. That’s peak twelve year old behavior.

Yes, Percy figured out Kronos was behind everything, but it makes sense because Percy knows Greek mythology and where Kronos resides. He still very much acts like a child when he asks Hades to give him back his mom in exchange for nothing because it’s the right thing to do.

There are dozens of examples like this for a lot of complaints of the show. And this is not me saying that the show is perfect: every single show has flaws. For me, I wasn’t the biggest fan of the dialogue or the exposition dumping. It didn’t hinder my enjoyment though because I don’t think it was egregious (and wrt the exposition dumping, I expected it because the book did it and there’s really no way to “show not tell” Greek myths). I also didn’t like that we didn’t get to really see the huge clashes between Zeus and Poseidon in the weather (we got references to it through news reports but I would’ve liked something more). I was able to look past it because I really liked the storytelling and the themes the show was pulling out of the original source material.

I loved Medusa-Sally parallels and Medusa-Annabeth parallels. I loved the juxtaposition of Pan’s quest to manifest density. I loved Percy and Annabeth’s opposite trajectory in respect to their relationships with their godly parents. I loved exploring Sally’s choice to send Percy to school instead of camp. I loved explicitly coding Annabeth as autistic. I loved Luke’s backstory being brought earlier into the story. I loved the deadline passing and Poseidon surrendering to save Percy. I loved Persues-Andromeda and percabeth parallels. I loved fleshing Grover out. I loved glory vs home seeking being the central theme of the show.

And lastly, I was able to understand that with a limited number of episodes and run time (due to the nature of child labor laws!), they did the best they could and I feel like they did a pretty good job for a first season.

These are not ALL of my thoughts on the show because that would be a very long post. I gave one detailed example of why I think the show succeeded in something the fandom tries to ascribe the books and it was like three paragraphs lol. Anyway this is not the post to try and convince me that the show is bad for whatever reason you have cooked up. I’m not going to change my mind and I doubt I’ll change yours. Here’s to a season 2 that builds on a solid season 1!

[juuuulez]

📰 | epilogue: capulet.

info: Carl Grimes x Saviour! Reader, 6 year timeskip, cute Judith moments, S10 Negan (aka Negan redemption arc), winter vibes because I wish it snowed where I live.

summary: Six years later, Carl and Reader consider what the future holds.

holy shit guys…it’s over! it’s done! writing this was so weird but also i’m very happy with the ending, and also getting to expand on Carl’s character beyond his death in canon was amazingly freeing.

i’ve got some requests to catch up on, but feel free to ask for stuff in the Capulet-canon! i’ll definitely go back to this and do little spinoff oneshots because they r very cute.

i hope you enjoy this as much as i did!

-> masterlist <-

Snow crunches under your feet as you treck back to Alexandria’s walls. A thin layer has dusted itself over your hair and shoulders, falling from the fabric of your jacket with each step. Slung over your back is a bundle of game: mostly rabbits, some squirrels, all tied up at the feet.

They’d designated you to checking the traps, a fairly mundane job that was mostly bearable, sans when the weather was this harsh. Having a small amount of freedom was nice at times, where you could be alone with the woods, though you knew someone was trailing nearby, shadowing your every move.

It didn’t hurt that much, knowing they didn’t trust you. You understood. But it sucked that it was these random assholes who hadn’t even been there during the war. Since when did they get a say?

Regardless, you felt relief as you arrived back home, if you could even call it that. The gates opened with a creak, allowing you inside, a familiar scene yet twisted in so many ways.

It had been six years since the war ended.

Six years of living in Alexandria, carefully under everybody’s watch. Of being torn down and scrutinised for mistakes you’d made as a teenager. Not that you’d call them mistakes, maybe that was your biggest flaw, being too prideful.

Someone comes to collect the bounty, to which you hand over the bundle, not before untying one of the rabbits you’d personally shot. That one would make your dinner tonight, besides, you’d been promising Judith a lucky rabbits foot.

The man doesn’t speak to you, though you aren’t offended. You’ve never been a big fan of small talk. In your opinion, there are very few you have the patience to converse with, and as long as they were still interested, then nobody else mattered.

Speaking of people important to you.

In the distance, you could spot Negan plowing snow along the main road that ran through Alexandria. You internally rolled your eyes, knowing that they’d been giving him stupider and stupider jobs recently.

There’s another figure, a young boy, who’s been tasked with watching him. He sits on a porch, a few feet away, kicking at the frosty ground.

“Hey, you wanna take a break?” You ask him, standing in front of the young male. The rabbit is still slung from your shoulder, along with the bow on your back.

He looks a little confused with the suggestion, and maybe offput that you’re talking to him. “No, I’m.. alright, thank you.” He attempts to brush you off, though clearly remains wary, almost unsettled by your presence.

You roll your eyes this time, not willing to continue this pointless back and forth. “Fuck off, okay? Just for a few minuets. Go waste your time somewhere else.” You demand.

Only a second of glaring down at the boy and he’s scurried off, likely to tell someone of your hostility. That’s one benefit, at least, that not many are willing to engage in a physical altercation with you, as they’d all heard stories of the war.

As you turn around, you catch Negan already watching you. A smile spreads onto your face, despite his rugged appearance, and the snow all over your jacket.

“You’re gonna be in deep shit for that one, you know?” He tells you, as if it isn’t obvious, though his tone indicates that he is pleased to see you again.

Lately, you’d been finding Negan more often around Alexandria, usually gardening or doing some other boring maintenance task. Depending on who was around, you were even sometimes allowed to visit him in his cell.

It hadn’t been like that for a long time, though. For the first four years after the war, you weren’t allowed any sort of contact. It was hard, and you’d struggled with bouts of depression on particularly difficult days, but things were starting to look up again.

“I don’t really care.” You shrug, smile turning into a downright grin as you approach. “Can’t make me do anything worse than hunting in dead-winter.”

As you crossed the path, Negan’s smile grew tender. He extended his arm to you, palm cupping the back of your neck and thumb moving the snowy hair from your face.

Though he had many regrets, letting you get caught up in everything was the biggest. In many ways he felt like he’d failed his job, which was to foster and protect a young girl. Yet, time and time again, you were put in harms way.

“What about plowing snow?” Negan sarcastically suggests, leaning on the handle of his shovel. The notion made you frown, straightening out the blue shirt he wore.

“No jacket?” You question, brows furrowed while you looked up at him.

The concern on your face made Negan smile, having watched you grow from a reckless teenager to a conscious young woman. “Nah. I have thick skin, doll.”

Regardless, you roll your eyes, trying to swallow your concern as you look to the snowy path. “I’m gonna ask someone about getting you warmer clothes.”

“I should be the one that’s worried,” Negan points out, “Hunting in this weather? It’s like they’re tryna’ kill you.”

He says it with a slightly bitter tone, genuinely irritated despite the fact that you’ve lived quite comfortably in Alexandria over the years. More so than him, certainly. Yet, the concern makes you smile, regardless.

“Someone’s gotta do it,” You justify with a shrug, “Trust me, I tried to dodge. Been feeling kinda shitty recently.”

“Shitty?” He echos.

“Yeah. Just.. bleh, y’know?”

Negan gives you a stern look, “I don’t know.”

You roll your eyes, not wanting to worry him over something you’d already written off as insignificant. “Just feelin’ icky lately, maybe a bit nauseous. I think this weathers fucking me up.

This causes him to let up a little, though you don’t miss the smug grin on Negan’s face as he continues to shovel snow. “Don’t sound like the weather,” He remarks, “Sure you aren’t pregnant? You and Carl are probably breedin’ like bunnies now you’re living together.”

The vulgar attitude never usually phased you, but this time your brow furrowed, glaring over at the man. “Don’t be gross.” You grumbled.

Luckily, Negan lets up, knowing this may be a soft spot for you. “Fine, I’m just teasing, doll. But you’ll tell me if it gets worse?”

“Yeah,” You agree, hoisting the supplies on your back a little higher. “I’ve gotta go get this rabbit skinned. And I’ll see about that jacket, okay?”

In return, he gives you a semi-enthusiastic thumbs up, though you know the emotion isn’t there. It makes you smile. You’ve truly missed him over these years, and seeing the toll imprisonments had on his attitude is jarring.

Nonetheless, you treck further into the community, locating your place. The small house sits near the back end, away from the main commotion, which you’ve grown to appreciate over time. Originally, you stayed there with Aaron, who was tasked with keeping an eye on you.

Then it was Rosita, and occasionally Tara. Back then, you were equally rude and hostile, and made a point to prove your disdain towards the entire situation. Of course, over the years, those walls melted away and you were forced into a state of acceptance.

Now, there was nobody watching over you. At least not in the safety of your own home. With the rate he was over, Carl practically lived there, though you knew he just didn’t like being in his own house with Rick gone. You’d understand how that would be unsettling.

The door creaked when you opened it, the haul causing you to bump it open with your hip. You dumped the bag at the door, and managed to unhook the bow with one hand.

You ventured further inside, intending to throw the dead rabbit onto the back porch to skin it. But you barely made it three steps down before your mission was halted, two arms snatched around your waist and tugging you back into a firm body.

“Jesus,” You huffed, “I didn’t hear you.”

Carl looks down, eyeing the left side of your head, completely flattened with the absence of an ear. “Shit. Sorry.” He apologised, having momentarily forgot in his haste to greet you.

The injury had thankfully healed, but your eardrum was ruined beyond repair. You were completely deaf from one side.

“I’m also wielding a dead rabbit, so watch out.” You remind him, shimming in his hold so that you’re face to face, though you hold the rabbit at an arms length away from his body.

“Then.. is this a bad time to kiss you?” He asks, and though it sounds genuine, the little smirk on his face indicates that your answer doesn’t matter.

You roll your eyes, a smile growing on your own face. Somehow, after all these years, you still get all bashful. “Never a bad time.”

No matter how much time passed, his lips would always feel perfect on your own. Carl kissed you like you were precious, made of porcelain, and the idea that someone was capable of being so gentle excited you. That, and it let you take control, something you lacked in your current life.

You shimmied your spare hand out of the snowy glove, so that you could wrap it around his neck. Lately, Carl had been letting you trim his hair, though you opted to keep it that same shoulder length, thinking it made him just adorable. He wore the bandage less, too, at least when at home.

Coming up for air, Carl pressed another tender kiss to your cheek, holding you a little closer. “Your hand is really cold.” He whispered.

In response, you dragged your palm over his face, squishing the cold flesh into his cheek. He groaned, finally letting go of you, seeeking reprieve from your snowy fingers.

You were finally able to continue down the hallway, though his footsteps followed right behind.

“Do you want to catch dinner with everyone?” He asked, “They’re cooking the rabbits down by the church.”

“I hate everyone.” You point out, bracing yourself against the cold air outdoors. There’s a metal peg hanging from the back porch, which you affix the rope onto, allowing the rabbit to dangle from its feet.

You can hear Carl has stopped behind you, leaning against the back door. “Besides, I think I wanna stay in. Still feelin’ kinda rough.” You say with a shrug.

It’s like a fish on a hook, where Carl can’t resist clinging to every little word you say. “Still? Do you need to see a doctor?” He suggests, worry in his tone.

Trying to ease his concern, you let go of the rabbit, giving Carl your full attention. “I don’t think so. I’m sure it’s nothing. A cold.”

Carl takes this as permission to dig deeper, wanting to find the root of this issue. He approaches, one hand settling on your hip, the other feeling your forehead. Though your temperature feels fine, he still remarks, “You don’t look like you have a cold.”

“Okay, genius. When did you get your degree?” You quip, the snappy attitude earning you an unamused glare, though it only takes a second before Carl is kissing your forehead, where his hand was.

It irritates you to no end that he’s so forgiving. But over time, Carl has learnt that you get defensive easily, expressed in irritated remarks that can turn borderline cruel. It’s his sign that something is wrong, but he needs to back off for the time being.

“I’ll skin the rabbit. You can lie down.” He suggests.

Your eyes narrow into a glare, not liking the insinuation that you can’t handle it. Though, you’re unable to be properly angry, knowing that he is trying to help. “Thank you.” You end up whispering in agreement, setting aside your pride for the time being.

With that aside, you decided to go and clean up from the hunt. There were little bloodstains on your jacket, so you left it hanging in the laundry for now, intending to deal with it later. Your boots were left at the door, and you quickly walked into the bedroom, intending to wiggle out of the snowy clothes.

Your hair was slightly damp, scalp a little sore from having it tied up all day. So, you padded into the bathroom, hoping to have a hot shower. But the second you looked in the mirror, you remembered what Negan had suggested. Albeit jokingly, but he still said it.

It was like a cruel history repeating itself. Being pregnant was a death sentance, in your eyes. Your own mother had died of birth complications, and that was before the apocalypse. That’s not to mention Lori.

Just the idea made you feel sick again. Scrounging through the bathroom cabinet, you found the beat-up packaging of a pregnancy test you’d stashed after finding it on a run. Just looking at it, all decorated in pink, made you feel worse.

You left it on the counter, hoping a shower would clear your head.

It didn’t.

The test was taunting you, staring at you through the foggy frosted glass of the shower. As much as you hated the notion, it wouldn’t leave your mind unless you got it over with. It was time to bite the bullet.

Still soaking wet from the shower, you fumbled with the box, hands shaking as you read the instructions. Whilst you peed into the little cup, you thought back to all the times you’d been intimate with Carl. The pair of you were relatively safe. But, maybe… maybe there’d been a few times you slipped up.

God, Negan was right. The pair of you were animals. It was like a late puberty, you couldn’t help it, you wanted to jump him at every opportunity. And now, this was your punishment.

A positive pregnancy test.

More like an execution date.

You spend a good ten minutes sitting on the bathroom floor, this indescribable weight on your chest. It gets heavier as time goes by, and you convince yourself that you may actually be unable to breathe if this continues.

Pulling on some clothes, you slowly inch from the bathroom, hair and skin still wet, though that doesn’t matter anymore. You can’t tell Carl, but at the same time, you need to.

You come to a stop at the back of the house, and before you can open the door, you notice Judith through the window. She’s sitting on the porch, talking with Carl as he attempts to skin the rabbit. His technique isn’t very good, but she doesn’t know any better. You hadn’t heard her come in, too busy wallowing in your own panic.

She stands, accepting a knife that Carl offers her, attempting to mimic his actions and take a chunk of fur off the rabbit. Judith struggles, not having the right angle, causing an uneven slice through the rabbits thigh.

Finally, you give in, pushing the door open. “You two are gonna butcher my rabbit.”

Judith turns to you, an eager smile on her face. She offers the knife, handle up like she’d been taught, “Show me?”

Though you accept the knife, Carl interjects, “She’s just had a shower, Jude.” He points out.

“It’s fine,” You assure them, rolling up the sleeves of your pyjama shirt despite the biting cold, “I’ll wash off with the hose. Now watch me, both of you.”

You teach the siblings how to properly skin a rabbit, explaining little tips and answering all of Judith’s questions. Though you’d come here to break some terrible news, you somehow find yourself feeling a little better. Watching Carl try and teach Judith something was heartwarming, and you wondered if he’d be this attentive with his own child.

That, and making Judith an aunt would be a gift in itself.

Later that night, you walk Judith back to her house, where Michonne was already waiting for her. She seemed relieved to know Judith was with you and Carl, given the girl had a tendency to investigate into some of the darker cracks of Alexandria.

There was still that one, heavy piece of information weighing on your mind. Though, it seemed to get lighter and lighter as time went on. When it came time to sleep, you were comfortably nestled against Carl’s side, your head resting on his shoulder.

The words were right there, on the tip of your tongue. It would be so easy to blurt out, yet you felt like doing some preemptive damage control.

“Would you ever wanna have kids?” You ask in a whisper, almost completely inaudible.

Given the circumstances, Carl finds the inquiry pretty strange. He shifts a little, laying on his side, so that you’re forced to face him.

“Maybe.” He says, though he sounds a little unsure of himself.

But maybe isn’t a no.

You stay silent for a moment, unsure of how to proceed now that you’ve gotten your answer. The silence causes Carl to grow curious, curious as to what has sparked this sudden interest.

“Do you?” He asks, looking you right in the eye, which makes you squirm a little.

Everything points towards your admission, but you can’t force the words from your mouth. So you just lay there, watching him, looking a little pent up and almost slightly guilty.

Fortunately, Carl isn’t stupid. He’s quite attentive, actually, especially when it comes to your health.

That, and he’d already found the empty test box in the bathroom, crumpled into the wastebin.

“C’mon.” He whispers, pulling you back into him, arms wrapped around your form. His hand makes its way into your hair, fingers twirling in the strands, keeping your head pressed firmly against his chest.

Carl swallows the lump in his throat, similarly unable to address the issue at hand. But maybe you’d rather he didn’t. “I love you, okay?” He ends up whispering, words uttered against the crown of your head.

You muster a little nod, shifting to worm your arms around his torso. You mirror his tone, quiet and hoarse, though that weight is finally beginning to disappear.

“I love you, too.”

[thegildedblogger]

IS RYAN CONDAL OK ? or is his life mission to torture GRRM. How can you bring in the creator who publicly is against certain scenes and keep making the same mistakes. Who are these characters. Maybe the book is unreliable but GRRM has talked about Daemon and Aemond in interviews. This is not Daemon (this so called badass man is subjected to Alys, who he met one week ago and doing nichts over there)

Why do Rhaenyra and Alicent have the weakest dialogue for such a "progressive" show ?

And I treat progressive within quotes because it's obvious to me they don't know what to do with black characters.

Corlys is treated as standard and honestly comical deadbeat absentee black father, Rhaenyra will only acknowledge Rhaena and Baela when she wishes to use them but admonishes Daemon for using her, Rhaena was going to be lady driftmark but now that Luke who was a bastard is gone, Rhaena seems to not matter. They made the Velaryons black to treat them like this ? Cole has gone up in rank, Mysaria has gone up in rank, everyone got an upgrade except the Velaryons. Rhaenyra truly was the doom of that house and overlooking that considering they're also black characters now is so gross.

Also I thought nothing truly was happening during this season.

Characters will talk but say nothing, they will have the same dialogue each episode, Daemon and Harrenhall is an example of that ( his character arc in the same place as it was in ep 1).

Also Mysaria's plot is giving Joker. She said she wanted to stop the fighting pits meaning she has a plan for the people with no gain from it. And her story is fake. Mysaria has been pregnant before, way after she escaped from her father. She only "opened up" the moment Rhaenyra started sulking which is every episode, she didn't think she could win the war so Mysaria put herself in a position of power now that Daemon is gone because she cloked her, she knew Rhaenyra is moved by her romantic partner. She saw with Daemon on that bridge and she saw it in her behavior with Alicent. But people are eating it up instead of looking a the flaws of the show.

It's so bad, I've have seen people grasp at straws like Alicent getting sliced in the same place than Rhaenyra, what kind of breadcrumb symbolism is this.

If you watch the show or have read the book, you're allowed to have an opinion. It's so awful how Got fans sinked the show because it didn't have a How to train your dragon ending but are cool with this.

[beauty-and-passion]

So... The Thunder Saga

Or, as we can call it, "Of Intentions and Pride".

By now, Mr. Rivera-Herrans is a guarantee of quality: he makes a song, it will be a bop. He will also psychologically destroy you and hype you up at the same time and give your brain a good scratch - especially if you know the Odyssey already - and the narration is so clear and the characters so flawed... let's just say, you will leave by being completely satisfied.

Fine, the songs might not be musically incredible, but the references, the voices and the lyrics are absolutely perfect. They pick up from all we experienced through Act I and introduce us to an Act that, with those premises, will definitely be characterized by pain. But, like, a lot of pain.

And we all like some sweet sweet angst in our lives, so let's talk about the songs a little more in detail.

__________________

Suffering & Different Beast: We! Got! The! Sirens! In my first post about EPIC, when the Underworld Saga wasn't out yet, I hoped we would have the sirens here and so here they are: the sirens!

I like how Mr. Rivera-Herrans decided to change the events regarding them, compared to the Odyssey. In the original story, Odysseus wanted to hear the sirens' song, so while the crew plugged their ears with beeswax, he was tied to the mast and he actually listened to that song. And yes, it drove him crazy, he begged and ordered to be released, but the crew didn't listen to him, until they were at a safe distance.

So the original Odysseus' encounter with the sirens was characterized by curiosity. He knew they were dangerous and still wanted to listen to them.

But the premises in EPIC are completely different: in the previous song, Odysseus just sang about wanting to become a monster. He won't let anyone stop him from coming back home. This is his main focus - it has always been his focus, since Troy: coming back home to his son and wife. He's not curious about everything, he's not willing to take risks. He's different from his Homeric counterpart.

(I think this also explains Jorge's short about not using EPIC as main source while talking about the Odyssey: he was about to change one of Odysseus' main characteristics, of course he wanted people to not mix up the two things)

So, when Odysseus meets the sirens here, he's not curious about them: he just sees them as a means to his end. He plugs his ears too just like his crew and gets to them the information he needs. That's it. No curiosity, no interest. They're just another enemy.

Hence why, he has to slay them. It doesn't matter if they're begging: he made a mistake once, he won't make the same mistake again. As Poseidon taught him: ruthlessness is mercy upon ourselves.

Speaking of the sirens, I also love how their "luring song" isn't just a simple song: they literally use Penelope's voice and shape, to trick Odysseus into getting in the water. And that makes it way more impactful: just imagine this man, after promising himself he will come back home to his wife, sees his wife calling for him. The perfect temptation.

I would also like to point out this sentence from Wikipedia regarding the sirens:

"Some post-Homeric authors state that the sirens were fated to die if someone heard their singing and escaped them, and that after Odysseus passed by they therefore flung themselves into the water and perished."

I don't know if Mr. Rivera-Herrans knew about this, but I love the idea that Odysseus was responsible for their death both in the Odyssey and in EPIC. The only difference is that he was indirectly responsible in the original, while in EPIC he's a ruthless beast ready to slay the sirens firsthand.

Speaking of that, I really appreciate how his crew united around this new version of their captain. He's a "man-made monster" and, as someone on Tumblr pointed out (can't find your post anymore, I'm so sorry!), this can both mean "a monster made by a human" and "a monster in human shape" and they both perfectly sum up who Odysseus is now. Still, they accept this and actively support it... at least when the monster's ruthlessness is directed towards others. They will regret that soon.

One last thing; I like to think that the last line "Odysseus" is a reference to King, because that's another song when he will "kill them all" too.

We're off to a dark start and I love it.

__________________

Scylla: her voice is haunting and beautiful and I will never stop falling on my knees weak with love for those incredible singers. Mr. Rivera-Herrans, thank you for always finding great voices.

I also noticed how, from the moment Odysseus decided to become a monster, the monsters/powerful figures started to understand him. We will see this with Zeus too, but we see it way, WAY more with Scylla.

Odysseus barely talks for the entire song. He says three lines only. But he doesn't really have to talk, because Scylla perfectly explains everything that is going on in his mind.

Odysseus says he doesn't have a lot to say? She says he's hiding "a reason for shame", because he already planned the death of his men.

Eurylochus confesses he opened the wind bag? That left Odysseus "feeling betrayed" and "broke the bond of trust the two men made".

Eurylochus is sorry? Still, Odysseus already made up his mind to sacrifice these men and, since now Eurylochus confessed his betrayal, then he can be one of those six. As Scylla says, "There is no price we won't pay" and "We only care for ourselves".

About the last part, I love how cool and dark her voice is, so driven by bloodlust... it's perfect. And it still explains what Odysseus feels, the heaviness, the regret, the sadness: they're still his men, his companion, his brothers. And if all other times their death was unintentional, this time he actively betrayed them.

But still, despite what he feels, he did it. Because "We must do what it takes to survive". And so he did: in order to survive, he sacrificed the expendables.

And yes it's dark and terrible, but it's also perfectly coherent with the character he is now. He knows he has no chance against Scylla and he must pay a price. He knows must survive, to come back home. So, he decides to pay that price and sacrifice six men, to save more - and most importantly, to save himself. Because in the end, it's like Scylla said: everyone wants to survive. Homo homini lupus.

Even darker. Love it.

(One tiny mistake I would like to point out, because it's the second time it happened: "We're lonely demons from hell", what 'hell' are you talking about, Scylla? Maybe the Christian one? Because I can assure you, there's no 'hell' in Greek mythology. But okay, fine, I'll let it pass, because I've seen this same mistake in a lot of works too - especially fantasy stories with a made-up religion, mentioning a 'hell' that doesn't exist)

__________________

Mutiny: as said before, in Scylla (and in Thunder Bringer) we see the monsters/powerful understand Odysseus and see through him. Here, on the other hand, we see how Odysseus' crew doesn't understand him anymore.

Once again, I love it because it makes sense! Odysseus decided to become a monster, so of course now he's more similar to their enemies, than to the other humans. He's driven by one thing only: home. Empathy, kindness, brotherhood, nothing else makes sense anymore, except for home.

It was still okay, when Odysseus directed his ruthlessness towards their enemies. The problem rose as soon as he directed his ruthlessness toward his own companions.

Why? Because of intentionality. When Odysseus' (and Eurylochus') actions led to the death of most of the men, it was never intentional. It was always a mistake. A mistake he paid dearly, but not something he wanted. Hence why, despite blaming and probably having a grudge against him, the crew never rebelled against Odysseus.

This time, it wasn't a mistake. This time, he purposely sacrificed these six men. And he didn't do it to save others, he didn't even try another plan: he did it, because he had to survive. It wasn't even for his own crew: it was for himself.

That's why, despite six being way less than 500+ held more weight for them. An unintentional sacrifice means "I've tried hard to save everyone and failed"... but an intentional sacrifice means "I'm willing to kill everyone, to save myself".

So, we get the sun god's cows. And considering the premise, this episode is even more impactful. It's not just "Odysseus' men are fucking idiots and ate the cows despite knowing they were the sun god's cows". It's a crew of tired, broken people who went through a lot of shit and have lost all hope of coming back home. They're just men.

And so, as men, they make a mistake. They forget how powerful and vengeful gods can be.

But if they forgot, Odysseus did not and the last part perfectly shows his fear, the sense of urgency, the dread. He knows who is coming, everyone knows it and there's no need to tell who is coming, because everyone just knows he will come and that silent threat is enough to make them run away as fast as possible.

Jsut not fast enough.

__________________

Thunder Bringer: the other songs might just be good, but this one SLAPS SO HARD. I love dramatic songs and this one is INCREDIBLE. The singer's voice is deep, rich, powerful. It's truly a thunderous voice and you immediately know who he is.

That's another great choice: no one calls Zeus' name, nor introduces him. All other gods were announced by something/someone or introduced themselves - but Zeus doesn't need to. He's THE king of the gods, he's THE powerful one. He doesn't need others to tell his name, because everyone knows who he is.

And that makes him SO. FUCKING. COOL. Also because, consider what he said. He didn't tell "I'm pissed" or explained why he was there and his motives. He doesn't need to explain his motives. He just said "I'm here and someone will die, make your choice".

This alone emphasizes the sheer power this figure has. He doesn't need to justify his actions to the mortals: the mortals already know what they did. He's just here to deliver. As he said, he's "the judgment call/The one who makes her kingdom fall".

This is great too, because it's what Zeus does in myths too! In most of the myths, the final decision is up to Zeus: he decides who should be punished or rewarded and his choice is final. (Only the Moirai are above him, but they represent fate and fate was an unmovable aspect of life, so they don't count.)

And the whole metaphor Zeus uses to talk about pride is great too. Sure, it's sexual, but I wouldn't expect less from the guy who fucks everything that breathes. Still, the main focus is not on how much he wants to fuck (which is what most of the people who do rewrites focus on), but on his power. And, in this case, on his ability to unmask every pride and every pretense, to show people's true colors.

Just think about it: when he asks Odysseus

If I were to make you choose The lives of your men and crew or your own Why do I think they'd lose?

he's literally revealing his true colors.

As said before, Odysseus has ALWAYS been obsessed with coming back home to his wife and son. He said it during the Troy Saga, he reconfirmed in every saga: he fights for Penelope and Telemachus, because he wants to come back to them. His crew is made of his brothers and companions, sure, but he never said "I will come back home with them". He always said "I will come back home".

What Zeus is doing now is revealing who Odysseus has always been. He's giving him a choice, already knowing what the answer will be, because he wants him to admit who he truly is.

Do you know what that reminds me of? Berserk. I haven't read it in full, but I know the story and if you've read/heard of the Eclipse Arc, you know too and you understand what I mean.

If you don't know (and don't care about the spoiler - otherwise, skip the next two paragraphs), Griffith is the leader of a powerful army and, during the story, he talks about his dream and how he's willing to sacrifice anything to his dream. His companions? He owes them, he says. Why? Because they sacrificed their own dreams, to help him achieve his. They died, to let him follow his dream. So he needs to fulfill his dream, otherwise their deaths would be in vain.

And when everything goes to shit and after he loses everything and gets one final chance to fulfill his dream, but the price would be the death of ALL of his army... he does it. He willingly sacrifices them. Because that's who he has always been. Because that's what he has always done. Because his dream has always been more important than everything else.

Back to Thunder Bringer: I also love how all voices softer and more subdued, in contrast to Zeus' thundering one. It's a wonderful effect, it emphasizes how "huge" he is, compared to mere humans. Odysseus can't escape, no one can. The tears in his voice are full of pain. But he already made his choice back in Troy - he made it even before sailing from Ithaca.

Now, his nature has finally been revealed. and he will deal with the pain it brings.

But hey, he's not the only one to do it. You have to deal with it too, because, as I said, sweet angst is sweet and these songs are bangers. So listen to them, stream them and shower Mr. Rivera-Herrans with love because he deserves it.

And also, don't forget to stream the new versions of the Troy and the Cyclops Saga! They're new, updated, more beautiful, with better sounds and, most importantly, the revenue will go to Mr. Rivera-Herrans' company and not to the old company that never gave him a cent for them. Fuck them and their greed, this man deserves money and credit and to work on more cool stuff.

Now, if you'll excuse me, I'll do my 30th listen of Thunder Bringer...

[mayzi33]

*clears throat.*

(apologize in advance for any mistakes english isn't my first language)

Alright. Here we go.

Look, I haven't watched MLP in a LONGGGG time. But recently with all the stuff I missed our and since the fandom is still pretty much alive and well I decided to take peek by peek in the seasons I haven't watched.

Until I came across, these guys

And I have so much to say.

I didn't write a script for this or anything so I don't know where this rambling is going so I just ask you to bear with me for as much as you can, okay?

Look, watching the Young Six episodes I've experienced one of the things that angers me the most. SUCH. WASTED. POTENTIAL.

You're telling me we got whatever the hell is G5 when instead we could have gotten THESE GUYS???? THESE COOL, UNIQUE CHARACTERS THAT ACTUALLY HAVE AN INTERESTING STORY THAT MAKES SENSE AND HAVE SI MUCH POTENTIAL TO BE ONE OF THE SICKEST LORE ARCS IN MLP???

I homestly don't know what Hasbro WAS THINKING in giving them so little screentime. There's so much I have to say but I'll try my best to keep my thoughts organized.

First things first, we'll need to talk a little about G5 or "Make Your Mark" series or whatever. I personally enjoyed the movie, though the story didn't make much sense (we'll get to that later) the characters were pretty nice, the songs were catchy and the animation was mwah. I didn't bother to watch all of the G5 series, because- (pardon to all who enjoy it) it's so. Freaking. Boring. Like I know there's a pony girl that's supposed to be a traitor among them but then grows onto being their actual friend and there's a villainess and that whole conflict and yada yada yada. But honestly there just isn't anything I found enganging in the entire thing. I can't explain it, it just feels- off. I know I probably don't have much right to talk, cause again, only now I'm diving into the mlp again after missing out A LOT, but I just can't bring myself to like that series.

Now, the whole School Of Friendship saga in the G4 series with our beloved Young Six, I know some people had some issues with it and it didn't please everyone, and while it does have some flaws and is certainly not perfect, you can't deny there was lots of potential. (I'll try to not overuse that word I'm sorry)

I personally, really liked the concept of different creatures from different cultures coming together and forming the perfectly diverse friend group. Episodes like The Hearth's Warming Club and What Lies Beneath were particuarly really fun, it was nice to dive into their cultures and backstories while also watching the six of them be vulnerable in front of one another and grow closer. If only they had more screentime and more deep episodes like that, they could have been in the top 10 found families in cartoons.

Now, just some other reasons as to why I think they're interesting characters and should've gotten more than what was given to them.

Because

1- Their whole deal is that they're not all ponies, that they're all different species. We get to learn lots about their different cultures and customs. It would've been such a good way to teach children about acceptance and respecting differences while also being entertaining. Especially in a school enviroment.

2- We got not one, but TWO male characters in the group. It would make little boys that are interested in mlp feel more comfortable and valid for it. AND those two males also have distinct personalities and their own active roles. Gallus being sort of the leader of the group, and Sandbar being the only pony therefore the one to stand up for his friends.

3- While they're supposed to be the new represantives of the elements of harmonies, their personalities are still interesting and different from the Mane 6.

Onto that, I really like how it's implied they could be the next helders (or whatever its called) of the elements of harmony. Given their special connection to the tree, how similiar they are to the previous groups (Mane 6 and The Pillars) and how Twilight LITERALLY LIFTED THEM UP AS WELL WHILE SHE SPOKE ABOUT HOW THE ELEMENTS WILL LIVE ON, it would've been such a cool concept.

Onto that, I wanna talk a bit about each of their characters too and how I think they could've been dealt with.

Gallus is the element of magic, but unlike Twilight who's all open and confident-spoken about friendship and all, Gallus is probably the one in the group that's the most closed-off and dislikes getting all cheesy. It would've been interesting seeing his development as the helder ot the element of magic. AND ESPECIALLY since he doesn't have magic in the first place, since Twilight and Starwirl were unicorns. So maybe he could make posions? Get powers someway else? Many posibilities

Sandbar is the element of kindness, but unlike Fluttershy he's extrovert and down to making friends. His overrall personality is that he's constantly very chill-going and nothing seems to ever upset or annoy him. So it also would've been interesting to see how that pattern would break, especially because of his element.

Yona is the element of honesty. She's probably the one that has the hardest time adapting to the Equestrians among the group, and even tried to act like a pony instead of herself one episode. It would've been interesting to see how her element of honesty reflects on how she should be true to herself, especially since her Yak culture comes a lot with honor.

Ocellus is the element of genority, yet, unlike Rarity, she's a lot more like Fluttershy, being timid and insecure, while also being smart and well-read like Twilight. It would've been nice if her development with her element would be gaining confidence in herself and being generous to others that way. Especially since she has a fear of being like the old changling queen (forgot her name) so imagine if she just turned out to be the opposite of her. Instead of selfish and cruel, being generous and kind.

Smolder is the element of loyality, but also like Gallus, she's also not into getting cheesy. But what I find imteresting about her is how she tries to keep her tough, agressive persona (since thats how dragons are) yet it is revealed she's actually interested in cute, fluffy stuff like tea parties and dresses. So it would've been cool to see her growing confident in admiting her interests, therefore being more like Rainbow Dash, who's always confident on herself

And last but not least, Silverstream is the element of laughter. But what's hooking about it is the fact that Silverstream herself probably hasn't KNOWN what laughter is for a long time, having to hide under The Storm King's rule. She's very talkctive, creative and extrovert, like Pinkie Pie, but she also has her trauma that haunts and intimidates her, unlike Pinkie who usually faces her fears headfront. Another great development story.

So just hear me out, okay. I don't care if MLP is over. I don't care if there's G5.

We. Need. A. Young. Six. Spin-off. Series.

I know it sounds crazy, but I genuely think this idea could work out if it was handled well enough, and Hasbro could make some good money out of this.

Just bear with me. A spin-off series set on the timeline between season 8-9 aka, still on the School Of Friendship, focused entirely on the Young Six. We could still get the Mane 6, of course, but mostly as support characters. It doesn't have to be a particularly long series, (though maybe that could work as well IF handled with enough care) maybe just 2 seasons or so. And I'm not thinking like a slice-of-life or fun little extra kind of thing, I'm thinking of ACTUAL lore. Just more about how the tree and the elements work, and how these six students could grow into being their new helders. In each episode it becomes more and more evident to them and the Mane 6 themselves that they're going to be the next generation of the elements. So imagine once they all fully it figure out and talk about it, the Y6 suddenly feel this pressure about how they're supposed to live up to their teachers and fear that they have to be EXACTLY like them. So we see Sandbar taking extra kindness classes with Fluttershy, Yona taking extra honesty classes with Applejack and heck even Gallus is taking studies more seriously (especially since he's supposed to be the element of magic which again I find imteresting since he doesn't really have magic at least not the way Twilight and Starwirl do. ) So we could have an entire episode about the M6 getting through to them and showing they don't have to be JUST LIKE THEM nor The Pillars. They can be their own people.

Another main-plot idea would be having more villains, probably trying to test them or tear them apart (cough cough like Swift Foot from the idw comics cough cough) or maybe you could even fit someone as intense as King Sombra, or maybe even even the return of Tirek, Cozy Glow and Chrysalis in there. (I remembered her name yay)

And, of course, more onto their characters, flaws, backstories and cultures! I would love to see more about their people and customs, just as much as I would love to explore their traumas, fears, ugly sides and how they overcome it together (cough cough found family COUGH COUGH GAGS)

And another thing, I especially would've liked to explore Yona's and Sandbar's relantioship.

I MEAN LOOK AT THEM-

Don't they give massive beauty-and-the-beast vibes? I love how their colors and body types contrast with one and another, and their personalities aswell. Yona being loud, cheerful and clumsy while Sandbar is calm, thoughtful and carefree. I just love the big girl x soooorta small guy vibes and I especially loved how gentle and reassuring Sandbar was towards her in that episode. I mean, "I don't care if you're not a pony, you're the best Yona I know." SERIOUSLY? WHO WROTE THAT LINE? I'D LIKE TO GIVE THEM A HUG. And also, onto the spin-off series matter, it would also be a cool topic to explore. Imagine if some ponies/yaks are judging them for having a relantioship while being different species and they learn to ignore them and live past that??? I usually don't care much for romance, (always prefered friendship and found families) but this would've been a nice little arc and episode theme to see.

Lastly, (I'm almost done I promise) to the more technical/economical part.

Like I said in the beggining, I genuely think Hasbro could make some good money out of this. Firstly because it will be using the G4 characters and lore and not...whatever mess of a plot G5 is.

And secondly because, if they took the time to give them some cool power-up designs like they did with the Mane 6, I'M SURE the toys would sell.

I mean- JUST LOOK AT THESE COOL DESIGNS I FOUND ON THE INTERNET?? (not mine, credits to whoever made it, you ate that)

DON'T THEY LOOK LIKE A TOY SET THAT WOULD CATCH THE CHILDREN'S EYES ON THE TOY AISLE? OH YES I THINK THEY WOULD.

And if anything, they could be as bold as to make an extra Equestria Girls (well, girls and boys) series with them. I know it sounds kinda dumb, especially given the fact that I'm not sure about how that would work given that when Spike went to the "human dimension" or whatever he turned to a dog... So Smolder would also be a dog? Sandbar would be the only actual human in the group?... BUT I'm sure they could come up with some excuse to make it work. Give them some cool, colorful outfits for different events and I'm sure it would sell. And ESPECIALLY since with Gallus and Sandbar in the group, it could get the attetion of young boys aswell.

Anyways. That was it.

Uhm. Conclusion: Hasbro should hire me. I know what I'm talking about. I think. At least a bit.

And I genuely think this could work if only SOMEONE gave it the time and care.

I don't know how to end ramblings so uhmmmm thank you all for coming to my pep talk.

They deserved better.

[pianokantzart]

I posted something somewhere about Papa Mario’s “these are boys” line being wholesome (and made more so because of who voices the character!) and I got some comments from people who hated the line because it was clear Pio “didn’t give a shit” about either of his sons and only accepted them once they gave him something he could brag about. In other words, he only “cares” about them when they make him look good. I don’t think this is the case, and I get the feeling you don’t either. Can you do a brief analysis on the character given what little we’ve seen of him? :)

Yep, I 100% agree with you. Mario and Luigi's dad may have his flaws, but he definitely cares about his kids.

The thing about Pio is that he strikes me as the family patriarch? At least for as long as the grandpa has been in his twilight years. Not only does Pio appear a lot more emotionally restrained than Uncle Tony and Uncle Arthur, but he's bulkier and moves with a lot less pep. Either he's a good number of years older than either of them, works a far more physically demanding job, or both. Whatever the case, he takes matters with a lot more gravity, and his lapse of judgement at the dinner table seemed to be out of genuine worry rather than disdain or apathy. At first he did his best to talk about anything other than Mario's failing plumbing business, keeping his head down and eating his pasta while everyone else was either defending or teasing Mario and Luigi.

It's only when Mario directly asks his dad for his opinion that he gets right to the heart of the matter:

"I think you're nuts. You don't leave a steady job for some crazy dream. And the worst part? You're bringing your brother down with you."

It's harsh, but you can tell he means well. This is not the face of a man who "doesn't give a sh*t." This may be a big joke to Arthur and Tony, but to Pio it's dead serious. Mario's taking a huge gamble with his and his brother's financial stability. Yes, this is Mario AND Luigi's dream, and Luigi is perfectly capable of making his own decisions... but it's clear who's leading the charge and making a lot of questionable choices along the way. If Pio has a place of headship in the family like I suspect, then this statement has a lot more weight to it– he knows what it is to have other people's wellbeing rely on you. It's important Mario understands that if this longshot fails, he won't be going down alone.

Did Mario already know this? Yep. Was telling him he was bringing his brother down a step too far? Absolutely, but Pio was not trying to emotionally gut his son the way he did.

When Mario storms off, he looks blindsided by the reaction.

When everyone stares at him in surprise he asks "what did I say?" in a tone of genuine confusion. This was meant to be a wakeup call for Mario, not a slap in the face. Apparently, Luigi's inability to read a room is hereditary.

But Pio's not a man of pure stoicism, he's still a hot-blooded Italian at his core, so of course he gets so excited when his kids appear out of nowhere to decimate a giant turtle dragon and his invading army??? (Please note the way he's leaning way too far out of that window in his excitement. It's lucky he's got good core strength or he'd be falling right out of the third story into what is still an active war zone.)

When the smoke clears both Mia and Pio are climbing over wreckage to get to Mario and Luigi, well before a crowd has gathered to cheer. The "these are my boys!" was a continuation of the pride Mario's dad had already expressed before he realized anyone else was watching. He has absolutely no idea what just happened, but anyone with eyes can see that Mario and Luigi just did something fantastic! And as much as Pio sees Mario in the leading role– responsible for his and his brother's failures– he also sees him as responsible for their victories.

So yeah. Conclusion: Mario's Dad is a flawed guy who makes big mistakes, but there's no doubt in my mind that he cares a lot about his kids.

[brucewaynehater101]

I'm seeing a lot of asks about this and I want to give my two cents: I'm cool with Bruce being a bad father, but only if DC admits that he is a bad father.

You can't have him doing downright abusive shit only to never address it. The only character that consistently criticizes Bruce parenting is painted as entitled and vindictive. I genuinely think the reason why we can't have a decent Red Hood arc is because if you want Jason to make sense you're gonna have to admit Bruce is a fucked up father or rewrite canon.

Same reason for Tim "never aging", not so much physically but emotionally. Because to have the character establish itself like Nightwing did you would need to address at some point all the bullshit he went through. Even with Dick. Like sometimes it looks like they want to recognize how being raised by Batman fucked him up by they end up settling for "oh it's the pressure". Like that's the most DC will say "Batman puts his kids under a lot of pressure buuuuuut it's justified because they're fighting evil :)".

Not just the kids, I think Batman himself would be so much more interesting if DC was willing to let him confront these things. As a redemption arc or as a fatal flaw that keeps his family at arms length. But they want to have their cake (have Batman be edgy and give the Robins Character Development™ through good old child abuse) and eat it (have Batman be Dad of the year). And that's what doesn't work.

Batfam fandom is great because you have people making content for Good Father Bruce, Bad Dad Bruce (he's trying and it's a bit funny/tragic), Awful Father Bruce (with no intention of changing. Every option is way more interesting than DC's directionless mess. Like, we don't even need them to make Bruce Good™ we just want them to pick a side and stick to it.

Thank you. My gods that sums it up perfectly.

Like, I've got no problem consuming Good Dad Bruce content... if it's not the comics. The animated stuff is usually fine, and fanwork is also great. There's a ton to like about it.

Hell, I'm even chill if Bruce makes mistakes and errors and fucks up with his kids. That's realistic, as long as they address that he did, in fact, do that shit. They need to talk about how his actions have hurt his kids and his relationships with them. He can try to do better, or he can stay distant with his kids because of it (low to no contact). It's truly not that difficult to chat about.

Now, media that addresses all of the horrid stuff he's done and considers realistic reactions/solutions to it? Fantastic. I love that so much. It's so cathartic watching him get his ass handed to him.

It's not necessary, though. I'm chill with good dad Bruce.

Despite that, outright ignoring what he does or brushing it under the rug? That's horrific. That reads like a sickening cycle of abuse, and I can't stand it. It's the exact same shit an abuser pulls by harming their victim (psychologically, mentally, physically, etc.), apologizing (ish), finding a way to pin the blame back on the victim, and then love bombing. Like, my gods. Bruce will beat the shit out of Jason and say it's Jason's fault for killing someone... "I wouldn't harm you/take a machine to permanetly fuck up your brain if you didn't do that. It's not my fault that I decided to hurt you. It's your fault that I did."

I just fucking can't.

I think Tim, with his little statement of "I don't expect you to apologize" after Bruce caused him to have a nervous breakdown post 16th birthday, that's a close approximation to admitting that Bruce is a piece of shit that does tendencies like an abuser. No matter what someone's intentions are, they should still apologize if they've cause unjustified/unintentional harm. Only assholes who don't regret their actions or people who feel their actions are justified won't apologize. There's times when apologizing isn't necessary or desired. That's fine. I won't apologize if Comic!Bruce and I are in a room, and I "accidentally" set him on fire.

Yet, Bruce is out here fucking up his kids. At the very LEAST, they deserve a fucking apology. Maybe a restraining order.

I ranted a bit. My bad. Anyways, have DC acknowledge the shitty actions Bruce does or don't have him do them. It's simple.

[farshootergotme]

Oh you and your friend make some interesting points about why Bruce adopting Dick so late in his life was a problem. It’s something writers clearly didn’t take into account when the trying to make this scene work while also not letting go of the not being adopted thing plot line while also trying to have their cake too by having Dick and Bruce makeup and finally having Dick be adopted by Bruce.

I know the writer writing Protugal wanted it to be a touching moment between the two of them. But the problem is it isn’t about what Dick wants and it written in a way where Bruce while has good intention offering him the adoption papers, he doesn’t own up to the fact he caused this issue in the first place if I am remembering correctly although I will have double check and reread that scene so take my statement with a grain of salt. Poor communication is truly the worst emery of them all and cough comic book writers loving to hammer in unnecessary drama and conflict even if makes no bloody sense at times or take into account how it effect the characters going forward. 

The thing about what is a good Batman writer is not necessarily if they nail Bruce Wayne and Batman as a whole but rather if they care about Robin as a concept or even like characters Dick Grayson in general. Same goes to Nightwing writers as well you can absolutely love Dick Grayson but do you actually understand Bruce Wayne as a character and are you willing to explore that aspect of their relationship Ie father/son. (Then again some of Nightwing writers do him so bloody dirty it’s honestly mind boggling to me.)

Another thing to think about is how most modern day writers and even some of older best writers from back in day of Batman is that they refuse to let him be wrong or admit he has messed up. Like my god, I like Bruce as character I really do but it’s so frustrating to see how he is treated in modern books like my god just stop the drama already with his family, I’m tired of Batman being regressed to his younger less mature self mentality and acts like he has learned nothing. Why is it so hard to just let him be a flawed but well meaning dad who yes messes up sometimes but is willing to get better and grow as a person because at the end of the day he truly cares about his children.

My problem with Richard getting adopted as an adult is well mainly with how it was handled. It never about what Dick wants if it was the writers would have made Bruce apologise for his failing as a father to him and make it so it’s up to Richard if he decides to forgive him or not because let’s be honest Bruce hurt his eldest son by his selfish actions but Bruce should also just be honest with him about he has always seen him as a son maybe not at first but it grew into that overtime and that he was wrong for assuming how Dick felt about being adopted and should have done sooner in fact he should have done around the same time as Jason. Again he should have done the minute or at least offered it when he and Dick had a heart to heart in the Marv wolf man run at Donna wedding but I don’t know. You know what amusing about his run is before this story was made he refer to Dick as Bruce adopted child early in his run which is an interesting thing to think about or maybe I misremember and it was a different writer altogether. OvO’)

Or maybe we can just skip all the stupid drama of adopting or no adopting bs and just have Bruce adopt Richard as a young teen which gives Dick enough time to think about it and probably change his mind. It also gives them time to bond as father and son, now I am not asking for Bruce to be a perfect father figure mistakes will happen as he learns what it means to be a father figure to Dick. Like come on give me fun and compassionate Batman please I miss him like geez why are the writers afraid to just let Bruce grow and move on from his past to some extent. 

Another to get off my chest with DC is well isn’t time to just retire the whole ward thing because it not really used anymore and might as well change to Dick being a foster child because that is what he is. Like the 2004 cartoon The Batman made this change to just that. Like I get Ward is historically important to Richard but I don’t know. Another thing I wish for is just to let Dick be adopted earlier at this point because the drama of not being adopted is just hurting both Dick and Bruce as characters at this point. 

When you could instead be focusing on why Dick wanting space and independence from Bruce like how his parenting style can be quite old fashioned the strict yet overprotective father figure and how he shows his love through his actions rather then his words. You could also explore how Bruce being a dad with a mental health issue aka ptsd, being kind of a control freak and suffer from self loathing issues and how he thinks he never be a good enough parent to his adopted soon. Effects Dick development and how Dick felt like over-coddled and suppressed by Bruce being overprotective and at times being super critical of his decisions as a young teen and young adult.

Honestly what frustrating about Tom Tyler run of Nightwing is that the scene with Dick and Bruce in the bat cave is so good but the problem is it is not earned because Tom Tyler hasn’t really taken the time to explore Dick’s and Bruce’s relationship as father and son or having the balls to actually explore the nuances of it and gasp let Dick call Bruce out on where he has hurt him and that Bruce needing to take responsibility for his actions as father. 

This is why I hate when people say they aren’t father and son or god damn family because one it makes it out Bruce actions aren’t as bad because they’re just “coworkers/partners” which just gross to me and also takes away Richard agency and why he repels so heavily against Bruce and why he is so upset about not being adopted you can’t just sit there and tell me they’re not family because it’s simply not true because this effects Richard heavily because in his mind he thought he wasn’t good enough to be Bruce’s son and felt replaced. Literally Eldest feeling replaced by the new baby sibling coded right there.

Another thing, I feel people will have come and accept about superhero comics mostly by Marvel and DC is well they’re kinda like fairy tales in a way, writers giving their own spin and takes on the world and the characters that function within it. They only things that keep them connected is how characters themselves and if they develop and grows carries over or sticks within that part of the lore. I also feel that writers are afraid to take big risks like changing how Dick Grayson became Nightwing even though they’re already one or two versions where it doesn’t lead to him fighting with Bruce and getting fired.

Now I am not saying ignore canon completely but I feel you’re at the mercy of the writers or eras of comic book runs and I think people should pick the writers they like rather try to stitch all these different takes and continuities together. Then again, I guess it doesn’t help that most media has Batman alone and completely disregard the concept of Robin or his found family in general and that honestly such a shame because Robin aka Dick Grayson is the reason Batman comics stayed alive for so alive for so long, hell he was created even before blooming Alfred.

Which leads to final point this whole thing about Dick Grayson not being adopted, has made so that is all is ever talked about. Who Dick Grayson the character like what are his goals who he is like yes he relationship with his father figure is important as it what lead him to this pathway and wether he likes or not he can quite similar to Bruce in terms of his beliefs and parts of his personality but also what about his friends the titans or his journey into adulthood and he finds himself that’s more interesting to me. Modern writers what are you doing with Richard he has so much potential and yet it feels like they have no idea on what they want to do with. No more Tony Zuuco no more changing to his backstory leave it alone please it’s fine how it is there is no reason to make it more complicated and by doing that you take away how the parallel between Bruce and Dick backstories 👏👏👏Hot take I know. 

Also, there is nothing wrong with wanting to write Dick and Bruce patching up their relationship as father and son, I love Bruce being a good dad that is trying to best despite being mentally ill himself. But keep in mind how you go about writing Bruce and make sure he faces consequences for his decisions and actions as a parental figure to  Dick Grayson and his other children. 

Oh wow sorry for making another kinda essay in your ask box again. 😅 (Hmm, I could talk about how Dick parents and his lifestyle at the circus effect his personality and how his flaws were already there before Bruce took him in but that probably for another time ha ha.

Anyway, that is enough of my rambles and inner never ending thought of this complicated father and son duo.

Hey, thanks for sharing your thoughts! I personally can agree with a lot that you're saying.

The problem when it comes to writing Dick and Bruce is that their characters are so old that many of the things from the earliest comics would be very different if one wants to write them in a more modern era. But many writers seem to choose to keep things (despite also changing things that are actually alright and should be left alone, but, oh, well...)

I mean, I don't think the drama of Bruce not being able to adopt is all that bad. For example, in one of the origins, there was woman, Sister Mary, who took care of Dick during his time at the orphanage. She mentions doubting Bruce's capabilities as a father because of his reputation as a womanizer, but that she was convinced she'd be good for Dick after talking with him in private.

They could still use this conflict in modern era and how his image as the playboy billionaire could influence the jury's decision to only give him custody of Dick as his new guardian rather than his adoptive father. Plus (I don't remember if it was in the same origin or not) Dick at the beginning wasn't fully ready to have a 'replacement' for his dad, so Bruce would respect that and accept the responsibility as his guardian.

However, here's where I'd say that they screw up; they let the years pass, no mention of adoption whatsoever (despite both clearly growing to see each other as father and son, respectively) and they just leave it at that until, check this out! Jason is adopted! I would assume now the jury is okay with letting him adopt a child because he's proven himself by taking care of Dick all these years. But, yeah, actually, back to Dick, what about him, then?

I don't believe for a second nobody would bring up the adoption issues. Like, if not Bruce or Dick (maybe because they're both afraid of being rejected by the other if they bring it up) why not Alfred? He's not shy about voicing his thoughts to Bruce, and I'm sure he could convince him to have a chat with Dick about a possible adoption because Dick is only getting older and one day it'll be too late to ask.

(Except not apparently because DC wrote Bruce asking a Dick in his early twenty's if he can adopt him which is definitely not late at all! Not to mention they had the first real conversation about adoption years ago, but Bruce just ignored Dick clears desires to be adopted and only brought it up when he thought it was the right time because why make a father that cares also about his son's emotions, am I right?

It just feels like a cheap compensation for all the years they (specially Dick) waited to become an official family. So what if the bond is more important? Maybe Dick wanted the reassurance that no matter what he would still be Bruce's family without meaning the end of their relationship everytime he left the manor to make a life for himself, is that so wrong?)

And it just makes Bruce look so bad when someone comes up with the excuse that "Dick didn't want to be adopted so Bruce was only respecting his wishes". Well, of fucking course he didn't want to get a new father a few weeks after he saw his dad's bloody corpse laying on the floor of the circus! But years later? When he's already learnt to deal with the grief and has found a new family in these two older men that chose to take care of him? What excuse does Bruce have then to not have ever brought it up again? The only 'excuse' I could think of is that he was insecure that he wouldn't be a good father to Dick (or as good as Jhon Grayson) or, as I mentioned before, afraid of being rejected. But this isn't just about him!! And as the adult in the situation he needs to save those feelings for later and communicate with Dick first without coming to any assumptions. What will change from the current relationship, anyway? Other than the security that Bruce can't just get rid of Dick whenever he wants since he's just his guardian and he can pass the responsibility to anyone else which sounds a lot more like a plus to me than a negative change.

And Bruce himself said "it doesn't really change anything" when he gave Dick the papers, so it really was a non-issue since the beginning.

I get he can have doubts and insecurities, but when it's between putting your feelings first or the ones of the child you're raising, I think the decision should come pretty easily. (Not to Bruce, apparently)

So, yeah, if DC really wanted, they could just change the early years again (we know they can, they've done it enough times already) and make Dick Bruce's officially adopted son during his Robin years and fix the whole issue very easily.

Now, I wanted to address the part about Bruce's parenting and DC not letting him develop and grow as both a character and a father, but I don't want to make this too long and you already said enough about the topic, so I'll leave it at that.

(also, would definitely love to hear about your thoughts on Dick's upbringing at the circus and how his issues began from his early childhood and not everything was for Bruce's influence. I have my own thoughts about that and it'd be great to discuss them with you)

[writeouswriter]

People out here like oooh I shouldn't be relating to this villainous character, this character who does bad things, this character who has questionable morals; yes, you should be! You should be looking at the warped funhouse mirror and analyzing what you see there! That is not an accident! The world is not black and white, good and bad, us and them; if you start thinking there's a clear dividing line, that you could never possibly relate or end up like them or they could never have ended up like you, that's how they get you!

You and the rest of humanity are a swirling pool of grey and these characters are, in many instances, a way to reflect on yourself... because recognizing the self through the other not only gives valuable insight into you and those around you in general, but also lets you see how you can avoid making the same mistakes or how you could, given differing and worse circumstances, see exactly where they're coming from and become just like them if the tables were turned, making you more mindful, more empathetic, more open to questioning or accepting your own flaws, and just... so much more.

That's inevitably worded fuzzily, and I've said it before, but the point is, it's not a bad thing to relate to these characters, it's an (often) *intended* and invariably human thing because humans are messy and complex and shaped by all kinds of simultaneously unique and yet universal shared experiences, and in the end, people are people are people, bound by the laws of chaos.

And yes, there may be some exceptions in how you may approach this, but not without nuance.